Not only does the fragmented delivery become trying, but also the behind-the-camera dialogue and city shots with heavy Parisian traffic numb the senses. And as beautiful as it looks, there's really nothing new coming out of the lens of the revered Godard.

Solid family entertainment, with thrilling action sequences and gorgeous scenery.

It still feels a little like a lesson you’re supposed to learn before you can enjoy anything truly satisfying.

For about an hour or so, 1408 has you thinking you're watching The Next Great Horror Movie: That's how good the first half of this adaptation of Stephen King's short story about a haunted hotel room is.

The idea of cracking a secret message from the enemy during war is thrilling; making the process interesting to watch is more problematic.

Repetitious, uneventful and, in the end, dull.

Clearly, this unabashedly silly movie, written by Jon Hurwitz and Hayden Schlossberg, is the work of people with a grasp of the stream-of-consciousness creativity that a few bong hits can impart.

Page, who died in 2008 in Los Angeles at the age of 85, makes for a blunt but engaging narrator who’s refreshingly candid about sex and her own inner demons.

There's an irrelevance to the movie that the filmmakers, hard as they try, can't quite shake - something awfully square about the picture: It would have played a lot better a decade ago.

Although not quite as over-the-top visually as his Oscar-winning The Great Beauty, Youth is still spectacular, filled with tableaux (a group of people sweating silently inside a sauna, a naked man and his prostitute inside a hotel room) that juxtapose the desires and personalities of young and old without dialogue.

Despite some admittedly intense sequences and a lean, spare script, The Hills Have Eyes hasn't aged all that well, particularly the business with the cannibals, who are more likely to inspire laughter from modern viewers than anything else. [31 Oct 2003, p.22G]

Sounds like Dirty Harry, looks like Dirty Harry, plays like Dirty Harry. The big difference is that Norris is not so mean as Eastwood, nor so interesting. Eastwood's Harry is flawed, even philosophical in his grumpy way; Norris' Sarge is just a nice guy who can kill you a hundred different ways. [06 May 1985, p.B6]

Yes, the Muppets are back with a yo-ho-ho and a ship full of fun. Director Brian Henson transforms Robert Louis Stevenson's classic into a splashy spectacle with sword fights and flamboyant calypso numbers. [16 Feb 1996, p.6G]

With Kaboom, Araki takes a huge step backward from the maturity and restraint he demonstrated in 2004's "Mysterious Skin," his best and most-assured film to date.

The movie is polished, well-acted and atmospheric, but still pure formula, and not very scary, either.

Has the feverish intensity of a bad dream, leavened with a subversive sense of humor that is both sophisticated and cracked.

Egregiously vulgar satire on terrorism, global politics and Hollywood action movies gets an immeasurable boost from its wonderfully designed, old-school string puppets.

Leoni's presence adds a jolt of energy to a movie that, while not necessarily worth going out of your way for, turns out to be a lot more clever than it initially appears.

This new Brideshead Revisted, though imperfectly revised, is not entirely regrettable.

There are a few surprises lurking in Cloverfield, and director Matt Reeves has an uncanny ability to time his jolts and scare when you least expect it.

Fury aims for history, and the contrived resolution shows a timidity by Ayer that is uncharacteristic of his previous work. Still, the action sequences, which use actual vintage tanks and little CGI, are pretty extraordinary and, at times, incredibly gruesome. War is hell. That’s entertainment, folks.

So. All this virtuosity, lots of thumps and crashes and even a few empty moments in the desert night. Signifying: Not so much. Not in the movies, which throw a glare even into the corners, which are empty here. Fool for Love has the look of a project that was a lot of work for director, writer and actors. It's not so much fun for the rest of us, either. [28 Feb 1986, p.D3]

It's fun seeing what these two can do when they're inspired, but it's awful having to sit through what happens when they're not. [21 Dec 1984, p.D10]

A nice set of drapes and a striking ballgown or two are not enough to provide this interesting love story any serious heft or insight.

The filmmakers capture enough of the book's essence -- and the power of its knockout, transcendent ending -- to more than justify the movie's existence.

This is a thriller that embraces stillness and silence where others prefer noise and bombast. It thrives on the hush before the explosion instead of its aftermath, and it's that eerie sense of expectation that gives the film its thick aura of suspense.

Considering the seedy nature of the adult film industry and the sad fates of many of its stars, Inside Deep Throat is surprisingly light on tragedy.

The movie is filled with wonderful music, memorable characters and rich, quotable dialogue. But what makes the picture really soar is the way it reminds you what it feels like to fall in love -- and the endless, countless possibilities a new romance brings.